In (Dis)placed interventions, Elly Van Eeghem stimulates your imagination with video footage, voice recordings, music, and colourful projections. She collected all this material over the past several years in various neighbourhoods in Ghent, Paris, Berlin and Montreal. Join her on this trip to what a city is and can be – and be amazed, confused and inspired by the spaces that we share with one another.

A small society of well-meaning intellectuals choose a dead-ordinary man, to inspire, manipulate and guide through the political landscape. Step one is to expand democracy. Step two is to lay the resentment and identity fetishism to rest. Like a golem emerging from the silt of Europe’s magical subconscious, the decoy crawls forth.

Landscape Orchestra seeks a musical answer to the question of how we can depict departure, travel, and arrival. The production visits the landscapes that we traverse on our way to different and better places. A series of portraits shows people for whom the world is difficult but not necessarily less poetic.

Damiaan De Schrijver, Bert Haelvoet and Matthias de Koning are moving into the medium of film. Where do film and theatre coalesce? Where do they clash and where do they enhance one another? Their exploration of these questions is based on a variety of source material, such as the interviews that Alfred Hitchcock gave to the likes of François Truffaut and Jean-Luc Godard.

In 1809, Goethe wrote DieWahlverwandtschaften. He places four characters on a country estate, and observes their reactions. De KOE and Lineke Rijxman have now written a new Wahlverwandtschaften. How will the two couples fare, now that we can no longer blame nature for our whims and desires? Will it be as catastrophic? Or even more catastrophic?

‘Money rules the world,’ it is sometimes said. Is money responsible for what has happened in the world under its governance? Can we call it to account for the horrifying situations in which many people find themselves today? Christophe Meierhans invites you to join him in an exploration of what money is and does. Last season, he premiered Trials of Money. He is now presenting a revised solo version.

Shown and Told is a dynamic performance-collage founded on structured improvisation and associative leaps. It is an encounter between choreographer and dancer Meg Stuart and writer/performance artist Tim Etchells (Forced Entertainment). Together, they explore the relationship between movement, images and the body as a performance instrument.

In the late 1920s, Nâzım Hikmet introduced free verse to Turkish poetry, and he was thus the first modern Turkish poet. He wrote the majority of Human Landscapes, his magnum opus, while in prison. The five hundred-page epic was only published posthumously, divided into five ‘books’. Michiel Vandevelde staged Book I last year, commissioned by steierische herbst. Book II now follows.

In the late 1920s, Nâzım Hikmet introduced free verse to Turkish poetry, and he was thus the first modern Turkish poet. He wrote the majority of Human Landscapes, his magnum opus, while in prison. The five hundred-page epic was only published posthumously, divided into five ‘books’. Michiel Vandevelde staged Book I last year, commissioned by steierische herbst. Book II now follows.

During a meditative crying marathon that lasts almost an hour, two futuristic female characters question the mechanisms that turn personal emotions into political phenomena. In a choreography that uses video and large sheets of paper – simultaneously protest signs and drying laundry – their tears of weakness become an act of political power.

A man commits a terrorist attack in a museum of contemporary art, killing 49 children and a teacher. He waits on death row for seven years. A week before his execution, he convinces the police detective who was in charge of his case to join him for his last meal. What meaning do these two men hope to find in the death that they both desire, each in their own way?

Louis Janssens and Timo Sterckx used the book Europeana, a Brief History of the Twentieth Century by Patrik Ourednik to make a production about history, about graduating, about beginning. It might be a very long story.

Inspired by the essay in the tradition of Michel de Montaigne, Anneleen Keppens has choreographed and will dance three Movement Essays. Each piece explores a different elemental dimension of abstract dance – while at the same time making associations outside dance. Together they form an intimate and multifaceted dance solo.

A stone’s throw from the Kaaistudios, there is a row of dilapidated and unhealthy social housing blocks that will soon be demolished: these are the five blocks of the Rempart des Moines. The current residents have to make way for more affluent buyers. The Brussels Brecht-Eisler Choir is presenting a musical theatre piece that attempts to capture and evoke their confusion and uncertainty.

In MEMENTO MORI!, documentary filmmaker and visual artist Els Dietvorst brings two solos together. The first is performed by Dirk Roofthooft, one of Flanders’ most iconic actors, the second by the Brussels-based actress Aurelie Di Marino. The first monologue mirrors the second. As a diptych, they reflect on themes such as individualism, globalization and migration, as well as the alienation and disenchanted world to which they lead.

In the American Midwest of the 1880s, men would conceal illegal bottles of alcohol in their boots. The term ‘Bootlegging’ – meaning to smuggle (liquor) – was born. Now there is Bootlegged: an encounter between Boyzie Cekwana and Danya Hammoud. Two bodies, two stories and two histories collide to create a third, shared story.

While many creators praise the empty stage as the central place for fantasy, in Physics and Phantasma it becomes compulsive and traumatic. The vacuum must at all costs by filled with something! To this end, Iggy Lond Malmborg takes you on a journey to random and dark corners of your imagination: the place where this solo takes shape.

An expedition to the source of the Styx has taken Karen Røise Kielland and Katja Dreyer to the heart of Greek mythology. They breathe new life into an old myth through numerous encounters with local residents and their stories about the river. The performance begins with multiplicity and chaos, but the closer to the source, the more order and monochrome silence begin to surface.

This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; an academic lecture about memory, neurology, machines and consciousness; a video installation with an immersive (post-)apocalyptic landscape; and a concert. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.

In this humorous and passionate monologue performed by Einat Tuchman, Orla Barry explores the boundaries of art, gender, and the rural everyday. She describes the experiences of an artist who returns from the city to her rural roots and is reborn as a hybrid ‘farmer-artist’. Coincidence, humour and a subtle language game are the ingredients of a production that blends oral historiography with personal memories.

In this personal performance, Khadija El Kharraz Alami blends perspectives from Euripides’ Medea with her own story about growing up between both the Western and the Moroccan world – and about the clash of forces within the self.

A young woman in a city that has been occupied for decades. On the day of her father’s funeral, she discovers his architectural drawings. Broken Shapes is a hybrid theatrical experience between installation, video and performance that explores how physical surroundings affect us mentally. Onstage we see one actress, her words are supported and interrupted by the visual interventions around her.

For this ‘remake’ of Iemand van ons (2005), Tristero has mobilized a seasoned cast with plenty of life experience. Reinhilde Decleir, Mark Verstraete, Janine Bischops, Bob De Moor, Kristin Arras and Kris Smet all get into a big bed together and talk about politics, love and life. With a great sense of humour, they ask one another personal questions, listen, toss and turn on the bed, and reveal their inner selves.

For this adaptation of Moby Dick, Gorges Ocloo called on Ben Okri, who adapted the novel into a magic-realist story about the gulf between high and low, rich and poor. Josse De Pauw and the renowned American mezzo-soprano Raehann Bryce-Davis take to the stage. Together, they perform an energized and jazzy opera about the need for rapprochement in an increasingly polarized society.